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Adore is the fourth studio album by the American alternative rock band the Smashing Pumpkins, released on June 2, 1998, here repressed and reissued on a 2LP Black set

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

3xLP Boxset mit den remasterten 4AD-Alben Fetisch und Tocsin und den EPs Incubus Succubus II und Qual Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

traverse is proud to announce the release of its first record - a compilation of six tracks from various artists, inspired by Pembroke King’s poem moving silhouettes, written for this occasion.

As the fourth volume of the compilation series “traversée”, moving silhouettes encourages artists to explore all corners of listening music and creative avenues that aren’t tied to any one convention.

Pembroke King’s poem sheds light on the mood of the compilation, and even though each artist brings its own interpretation of it, there is a beautiful harmony of it all - from Kate Miller’s atmospheric sounds to Teqmun’s drums-made-of-rain-drop-recordings or Ghjuliú’s nostalgic melodies, the listener travels around Pembroke’s words with each track.

As our first physical release, we feel honoured to collaborate with artists who have been involved in a way or another on traverse before such as Officium, Mika Oki and Alohn, but Kate Miller, Teqmun, and Ghjuliú, that we’ve been keeping close to our heart for a long time already.

Credits:
artwork: Gabriel Sauvageot
tracks produced and mixed by (in order of appearance): Alexis Tytelman, Tijmen Blokzijl, Alban Mercier and Yolek, Kate Miller, Ghjuliú, Mika Oki
mastered & cut: Marco Pellegrini at Analogcut
digital master: Umvral
distribution: Kuroneko

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

Tauche ein in die Glam-Metal-Magie von Steelhearts Debütalbum aus 1990 - jetzt als Neuauflage auf schwarzem Vinyl, mit zeitlosen Hits wie der Ballade 'I’ll Never Let You Go', dem energiegeladenen 'Everybody Loves Eileen' und dem Hymnenklassiker 'Rock 'N Roll (I Just Wanna)'.

Celebrating over ten years in the game, Seth Troxler and The Martinez Brothers' carefully cultivated Tuskegee Music imprint returns with a deeply rooted collaboration between West Coast-based talents Late Delivery and BL SUEDE. Reinterpreting a club classic from Sheila E. and Prince, blending soul, deep tech house and freestyle influences at 130 bpm, ‘Glam Life’ lives up to the prosperous vibe of its title.

Originally from Washington D.C. and New Orleans respectively, Late Delivery have been refining their shared love of house culture since meeting in 2008. Collaborating with Inglewood, CA raised producer and vocalist BL SUEDE, this ode to a iconic time in Black music culture is imbued with the same sense of musicality, with BL’s fluid vocals in a heavenly posture amid joyous horns and irresistible percussion.”

Kenny Glasgow’s smooth, restrained take presents a champagne room mirror perspective on this particular ‘Glamorous Life’, with the former Art Department man and US rave scene lifer tapping directly into sensual, minimal pleasure. Afriqua meanwhile takes BL SUEDE's versatile vocals in a bright, diverse direction, conjuring fresh elements from an archive of breaks and bubbling basslines, landing between modern Amapiano and vintage EBM.

Volume 1 of this expertly curated project of 90s Italian House - put together by Don Carlos.

If Paradise was half as nice… by Fabio De Luca.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy.

Following the success of Dance Classics Volume 1, Music On Vinyl, in collaboration with Warner Music Benelux, presents Dance Classics Volume 2.
Once again, all tracks have been newly selected and remastered, offering a broad selection of dance classics and hit songs.
This collection features hidden gems, rare tracks, and deeper cuts, including full-length 12”/album versions. All tracks are un-mixed and DJ-friendly.
Dance Classics Vol. 2 includes floor-fillers from The Trammps, Chic, Rufus & Chaka Khan, Womack & Womack, Michael McDonald, and nine other tracks.
Dance Classics Vol. 2 is available as limited edition on silver coloured vinyl and includes an insert.

xd H2 Rockers Revenge - Walking On Sunshine feat. Donnie Calvin (12" Version)

Jazz re:freshed are proud to present the third studio album by bassist and composer Daniel Casimir.'Balance'encapsulates 'Big Band Energy', with his signature combination of Classical, Jazz and cinematic sounds.

The albumpays homage to the traditions of big band composition and historical significance whilst illustrating contemporary sensibilities.

This ambitious project explores the balance between two large and full sounds of a big band and a string section and is inspired by icon Wayne Shorter's album'Emanon'which made a deep impression on Casimir during the process of creating the album.

An organic development of Casimir's last critically acclaimed album'Boxed In'which featured a jazz quintet alongside a mini chamber Orchestra and was comprised of a woodwind, brass, with a string quartet,'Balance'is a self produced album that takes his musical vision to the next level in his most ambitious body of work to date, leading 26 musicians.

Recorded in November 2022 at Livingston Studios, in a very conscientious recording process which saw piano, bass, and drums recorded together first, followed by trumpet, trombone, saxophone, and the string section and an all star band that consists of figures from the UK Jazz scene, Cassie Kinoshi, Binker, Nubya Garcia, Rosie Turton, Sheila Maurice-Grey and Jay Phelps to name a few alongside a stunning string section performed by the London Contemporary Orchestra.

The final day of recording enlisted the powerful vocal prowess' of Zola Marcelle and Ria Moran to finesse the masterpiece. The track'Music Not Numbers'is an encouraging call to all musicians to not allow streaming culture to affect their creative process and to continue expanding the intrinsic nature of music. Whereas track,'Search for Goldilocks'explores the second meaning behind the album title 'Balance', which is to seek balance within and discover the qualities in life that are "just right".

Das neue Soloalbum der einen Hälfte des Duos WILDBIRDS & PEACEDRUMS, MARIAM THE BELIEVER, vermittelt uns richtig zu Atmen (und genau Zuzuhören)! Es gibt einen Hauch von Jazz, einen Hauch von Soul, die Empfänglichkeit und den Zauber spiritueller Musik und den großen Reichtum der Improvisation. Der Sound auf "Breathing Techniques" ist dicht und doch atmosphärisch, eine musikalische Landschaft, die sich im Laufe der Musik durch subtile Progressionen, Wiederholungen und manchmal scheinbar sporadische Arrangements entfaltet. Ein Setting, das an ein modernisiertes klassisches Kammerorchester erinnert, mit Mariams Gesang an der Spitze. Das Album lässt Einflüsse von Frauen in der Musik der Vergangenheit und der Gegenwart anklingen. Es gibt einen Hauch von ALICE COLTRANEs zurückhaltenden spirituellen Aufnahmen, den rhythmischen Improvisationen VON MEREDITH MONK, der Leichtigkeit von STINA NORDENSTAM und den erforschenden stimmlichen Qualitäten von SHEILA CHANDRA und GAL COSTA. Das neue Album folgt auf die beiden von der Kritik hochgelobten Vorgängeralben von MARIAM THE BELIEVER: "Love Everything" von 2017 und das Debütalbum "Blood Donation" von 2013.

Music On Vinyl, in collaboration with Warner Music Ben- elux, presents the new versions of the Dance Classics series. Originally released between 1988 and 1990 as a series of cd compilations which included soul, funk, and classic-disco tracks.

Dance Classics Vol. 1 includes floorfillers by Chaka Khan, Change, Sheila & B. Devotion, Sister Sledge, Zapp, Chic, Jenny Burton, Starpoint, Lace, George Ben- son, Sheila E. and more tracks. All songs have been newly selected, remastered and feature a broad selection of dance classics, including hidden gems and rare tracks.This collection includes full length 12”/album versions and unmixed dj-friendly tracks.

The sleeves have been updated with new, yet familiar, artwork and are instantly recognizable. Each edition also includes a 2-page insert with credits and cover photos.

Dance Classics Vol. 1 is available as a limited edition on 2LP’s on gold coloured vinyl and includes an insert.

"Endlessness" ist ein tiefer Einblick in den Kreislauf der Existenz. Das 45-minütige Album umfasst 10 Tracks mit durchgehendem Arpeggio, wodurch eine weitreichende, faszinierende Feier von Lebenszyklen und Wiedergeburt entsteht. Nach Sinephros von der Kritik gefeiertem Debütalbum "Space 1.8" aus dem Jahr 2021 hebt "Endlessness" sie als transzendente und mehrdimensionale Komponistin hervor, die Jazz, Orchester- und elektronische Musik auf wunderschöne Weise miteinander verschmelzen lässt. Das Album wurde von Sinephro komponiert, produziert, arrangiert und bearbeitet. Auf dem Album sind Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili und Dwayne Kilvington zu hören, die von den 21 Streichern von Orchestrate begleitet werden. "Endlessness" erscheint auf schwarzem 2LP-Vinyl mit D-Seiten-Gravur und als CD.

Die Musik zur Netflix Serie von Mike Myers. Aus der Feder von Paul & Phil Hartnoll, den legendären, kultigen, britischen Elektronik-Pionieren ORBITAL.
ORBITAL hat Musik beigesteuert zu: The Saint, Event Horizon, xXx, Spawn, Test Drive 4, Mortal Kombat, Mean Girls, Peaky Blinders, The Beach, Wipeout, Hackers, Teen Spirit, American Ultra und vielen mehr.

Doppel-LP gepresst auf Metallic Gold & Schwarzem Vinyl.

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

Kurtis Walker - better known by his stage name Kurtis Blow - was the first rapper and hip/hop artist to be signed to US major record label Mercury in 1979. His first single ""Christmas Rappin"" became an instant classic selling nearly half a million copies on 12-inch. The follow-up single ""The Breaks"" sold more than a million copies, making it the very first rap single to be certified Gold. Kurtis Blow's self-titled debut album was released in 1980 and due to the success, he performed in Europe and Japan spreading the new hip hop sound all over the world. During his career, Kurtis Blow has released a total of fifteen albums and a slew of solo singles such as ""Throughout Your Years"", ""Hard Times"" and ""Tough"". The tracks ""America"", ""If I Ruled The World"" (which was later sampled by The Fugees and Nas) and ""Basketball"" further cemented his hip hop legend. Next to his solo work, he also as collaborated with The Fat Boys, Run D.M.C., Sheila E. on ""Krush Groovin'"" from the 1985 influential hip hop movie Krush Groove, René and Angela's ""Save Your Love (For #1)"", and ""Funky Stuff"" together with 2024 Rock And Roll Hall Of Fame inductee Kool & The Gang. The 2LP Kurtis Blow Collected is an overview of the biggest and best hits by one of the original Godfathers of Hip Hop.

She loves jazz, art and fashion and last summer she wrote her very first song. If you are an undeniable fan of Jaqueline Taeib, Cleo, Suzanne Gabriello, Gillian Hills, Catherine Spaak, Sylvie Vartan, Francoise Hardy, Sheila, "Rodin" will most certainly take you right back in time. Camille sings about love, life and loneliness, an original composition about the love affair between Auguste Rodin and his student Camille Claudel and also includes a fantastic cover song from an artiste we all adore, NINO FERRER's "Alexandre"

„Ladies Of The 80s Collected“ zeigt das Beste aus den 80‘s, mit Bnads und Künstlerinnen, die weltweit Nummer 1 Hits hatten. Zu den Titeln gehören der Smasher "How Will I Know" von Whitney Houston, Pat Benatars "Love Is A Battefield", Kylie Minogues Mitsing-Hit "I Should Be So Lucky", Prince-Schützling Sheila E. The Glamorous Life", Teenage-Popstars-Songs von Debbie Gibsons "Only In My Dreams", Tiffanys "I Think We're Alone Now" neben Popsongs von The Bangles' "Manic Monday", Propagandas "Duel" und 19 weitere Tracks der "Ladies Of The 80s".

Chaka Khan had lit the world on fire as the frontwoman for Rufus, tearing up the charts with hits like “Tell Me Something Good” and “You Got The Love,” picking up several Grammy awards on the way. She set out on her solo career with this collection in 1978, leading the way with the hit “I’m Every Woman,” which propelled the release to be certified platinum in the US and earn her another Grammy® nomination for best R&B vocal performance.

In November of 2023, she will be inducted into the Rock and Roll Hall of Fame at the end of a year that marked her 50th in the business. In 2024, we will launch a campaign to reissue her solo records, some physically, some digitally only, starting with the self-titled Chaka, which will feature a new remix of “I’m Every Woman” by DJ Rashida featuring Sheila E., liner notes from Emmy-winning journalist Kelley Carter, and bonus tracks from the original sessions.

From Serge Gainsbourg to Barbara, From Edith Piaf to George Brassens, all the classics of French singers are included in this very nice 3LP boxset.

NOW Music is proud to announce NOW Presents…Disco, a stunning 5LP boxset featuring 80 of the greatest Disco classics ever!

Kicking off with the genre defining #1 from Donna Summer ‘I Feel Love’ followed by Earth, Wind & Fire with The Emotions and their timeless hit ‘Boogie Wonderland’, this boxset features the most enduring tracks from dance-floor legends, including Chic, Sister Sledge, Gloria Gaynor, Village People, and Grace Jones - together with Saturday Night Fever gems - ‘Disco Inferno’, ‘More Than A Woman’, and ‘If I Can't Have You’.

LP 2 opens with Amii Stewart’s stunning version of ‘Knock On Wood’, followed by Candi Staton’s ‘Young Hearts Run Free’ and Chaka Khan’s hugely successful debut solo single ‘I'm Every Woman’. Other massive debuts include ‘Boogie Oogie Oogie’ from A Taste Of Honey, Alicia Bridges’ ‘I Love The Nightlife (Disco 'Round)’, and Cheryl Lynn’s ‘Got To Be Real’. Up next is the often-covered ‘Lady Marmalade’ together with Diana Ross’ ‘Love Hangover’ which lead into #1s from Frankie Valli & The Four Seasons, (‘December, 1963 (Oh, What A Night)’), Tina Charles (‘I Love To Love’), Odyssey (‘Use It Up And Wear It Out’) and Irene Cara (‘Fame’).

LP 3 Side A is packed with groovy and romantic chart-toppers from Elton John (‘Are You Ready For Love’), George McCrae (‘Rock Your Baby’), Barry White (‘You're The First, The Last, My Everything’), and The Spinners with their ‘Working My Way Back To You / Forgive Me, Girl’ medley. Flipping over to the other side, we have the timeless smash from Baccara ‘Yes Sir, I Can Boogie’, Boney M. with ‘Daddy Cool’, and Village People’s ‘In The Navy’. Viola Wills’ Hi-NRG cover of ‘Gonna Get Along Without You Now’ and Gloria Gaynor’s ‘Never Can Say Goodbye’ bring LP 3 to a close.

Lipps Inc., Kool & The Gang, Frantique, and KC & The Sunshine Band keep the dance-floor energy levels high on LP 4 with ‘Funkytown’, ‘Ladies Night’, ‘Strut Your Funky Stuff’, and ‘That's The Way (I Like It)’. The disco-mania of the late-70s also saluted the late-70s craze for Space themed movies & tv with early Electro-pop-dance, and included here from Space and Dee D. Jackson, before Sarah Brightman’s debut with Hot Gossip, ‘I Lost My Heart To A Starship Trooper’, and Meco’s remake of the ‘Star Wars Theme / Cantina Band’ as a dance-floor classic… Giorgio Moroder productions for Sparks with ‘Beat The Clock’ and The Three Degrees with ‘Givin’ Up Givin’ In’ lead the side to a close with ‘Souvenirs’ from Voyage.

LP 5 is filled with truly monster sized dancefloor-fillers, beginning with a run of Nile Rodgers & Bernard Edwards productions: ‘Le Freak’, ‘We Are Family’, ‘Spacer’ and ‘Upside Down’ from Diana Ross. It wouldn’t be a Disco album without Earth, Wind & Fire’s ‘September’, the Bee Gees-written ‘Nights On Broadway’ covered by Candi Staton, and the Grammy award-winning ‘Best Of My Love’ from The Emotions, before another hit cover from Amii Stewart, ‘Light My Fire’. Side B features some fabulous European Disco, including Belle Epoque and Amanda Lear, and signature hits from Patsy Gallant and Vicki Sue Robinson before drawing to a close with Rose Royce’s celebrated ‘Car Wash’, and Cher’s biggest disco hit ‘Take Me Home’ – and the last dance is left to Thelma Houston with her defining anthem ‘Don’t Leave Me This Way’.

NOW Presents…Disco – the perfect collection and collector’s item for every 70s Disco lover.

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

Sampha announces the full details of his highly-anticipated, sophomore album LAHAI, out October 20th on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesizing the exquisite chaos that one experiences confronting the cycle of life and the beyondness. Spanning 14-tracks, with contributions from some of Sampha’s closest friends, peers and collaborators including: Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves and Kwake Bass, LAHAI, in contrast to Process, is a communal affair seeing Sampha explore the many ways in which we as humans connect to each other, and to something bigger than ourselves. On the album’s latest single “Only,” premiering today via a new music video directed by Dexter Navy in collaboration with Sampha, which follows the recent “Spirit 2.0,” we meet a newly energized Sampha, as he spits melodically over a fragmented hip-hop hued beat with co-production from El Guincho.

Not unlike its maker, LAHAI defies clear categorization. Spanning jazz, soul, rap, dance, jungle and west African music, LAHAI sees Sampha elevating his production and vocal ambition to great new heights. A notable singer, songwriter and producer, it’s no wonder that artists like Kendrick Lamar, Stormzy, Travis Scott and previously, Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne and Alicia Keys have all tapped the artist for his inimitable voice plus songwriting and production contributions to their music. His work expands across multiple disciplines, with previous creative partnerships including the fashion designer Grace Wales Bonner, the Shy Light zine with Durimel (who also shot the LAHAI artwork) his Process film with director Kahlil Joseph, and most recently creative director Jonny Lu, with whom Sampha worked to create the LAHAI album artwork and logo.

If Process, Sampha’s 2017 Mercury-Prize-winning debut album, was an artist figuring out his own place in the world, engulfed in the shadows of grief and loss, LAHAI is an exercise in the radical acceptance and joy in the human condition, and the beauty in the journey itself. Welcome to Sampha’s next musical chapter: LAHAI.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

Sampha announces the full details of his highly-anticipated, sophomore album LAHAI, out October 20th on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesizing the exquisite chaos that one experiences confronting the cycle of life and the beyondness. Spanning 14-tracks, with contributions from some of Sampha’s closest friends, peers and collaborators including: Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves and Kwake Bass, LAHAI, in contrast to Process, is a communal affair seeing Sampha explore the many ways in which we as humans connect to each other, and to something bigger than ourselves. On the album’s latest single “Only,” premiering today via a new music video directed by Dexter Navy in collaboration with Sampha, which follows the recent “Spirit 2.0,” we meet a newly energized Sampha, as he spits melodically over a fragmented hip-hop hued beat with co-production from El Guincho.

Not unlike its maker, LAHAI defies clear categorization. Spanning jazz, soul, rap, dance, jungle and west African music, LAHAI sees Sampha elevating his production and vocal ambition to great new heights. A notable singer, songwriter and producer, it’s no wonder that artists like Kendrick Lamar, Stormzy, Travis Scott and previously, Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne and Alicia Keys have all tapped the artist for his inimitable voice plus songwriting and production contributions to their music. His work expands across multiple disciplines, with previous creative partnerships including the fashion designer Grace Wales Bonner, the Shy Light zine with Durimel (who also shot the LAHAI artwork) his Process film with director Kahlil Joseph, and most recently creative director Jonny Lu, with whom Sampha worked to create the LAHAI album artwork and logo.

If Process, Sampha’s 2017 Mercury-Prize-winning debut album, was an artist figuring out his own place in the world, engulfed in the shadows of grief and loss, LAHAI is an exercise in the radical acceptance and joy in the human condition, and the beauty in the journey itself. Welcome to Sampha’s next musical chapter: LAHAI.

• “Hearts For Sale” is the fifth and latest in our series of 12-inch vinyl albums spotlighting the US girl group sound of the 1960s. The collection opens with ‘Street Dance’ by Bonnie Jean, a little-known must-have for collectors of the genre, with Darlene Love and the Blossoms clearly audible on background vocals. Issued on Lew Bedell’s Doré label, this exciting faux-live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley.

• The Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky & the Lollipops, the Majorettes, Joanne & the Triangles and Beverly & the Motor Scooters – ‘He’s Groovy’ by the Front Page & Her.

• Other highlights include the Sweethearts’ Supremes-influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha & the Vandellas) and the Fran-Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.

[n] B7. Alain Goraguer – Les Hommes [La Grande Co-Existence]

Grammy-nominated, global superstar Kelly Clarkson is back with her tenth studio album chemistry, set to arrive June 23rd, 2023. The Texas-born singer-songwriter first came to fame in 2002 as the winter of the inaugural season of “American Idol.”

Her debut single “A Moment Like This” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best selling single in the U.S.

Further, Clarkson is one of pop’s top singles artists, with 17 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favorites as “Miss Independent” and “Because of You.”

Her multi-Emmy Award-winning daytime talk show “The Kelly Clarkson” show is currently filming its 4thseason and has already been picked up for its 5th and 6th seasons.

Additionally, she was the winning coach on seasons 14, 15, 17 and 21 of “The Voice” and is currently a coach for Season 23.
Kelly is one of the most popular artists of this era with a total worldwide sales of more than 25 million albums and 40 million singles.

Grammy-nominated, global superstar Kelly Clarkson is back with her tenth studio album chemistry, set to arrive June 23rd, 2023. The Texas-born singer-songwriter first came to fame in 2002 as the winter of the inaugural season of “American Idol.”

Her debut single “A Moment Like This” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best selling single in the U.S.

Further, Clarkson is one of pop’s top singles artists, with 17 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favorites as “Miss Independent” and “Because of You.”

Her multi-Emmy Award-winning daytime talk show “The Kelly Clarkson” show is currently filming its 4thseason and has already been picked up for its 5th and 6th seasons.

Additionally, she was the winning coach on seasons 14, 15, 17 and 21 of “The Voice” and is currently a coach for Season 23.
Kelly is one of the most popular artists of this era with a total worldwide sales of more than 25 million albums and 40 million singles.

REPRESS!

The afrobeat-inspired eight-piece drop their hotly-anticipated debut.
A horn-fuelled, soul-shaking introduction to the young collective.
Their first solo release after featuring on london jazz primer we out here.

Kokoroko are part of the thriving scene that's grown out of london's young, jazz-influenced musical circles. Led by bandleader Sheila Maurice-Grey, their self-titled ep is the group's first solo release, following their early 2018 debut with 'Abusey Junction', a track that has gone on to accrue over 15 million plays on youtube and 2.6 million on spotify. Across the E.P's four tracks, the eight-piece deliver on the promise of that memorable introduction, offering a bigger vision of their afrobeat-influenced, soulfully-imbued sound, west african roots shaded with inner London hues.

'Abusey Junction' was first featured on we out here, the 2018 Brownswood compilation documenting London's bright-burning, jazz-influenced musical underground, picked by Rough Trade as compilation of the year 2018, and praised by the Wire, Monocle and the New York Times. Writing and performing as a group since 2014, Kokoroko have played at iconic venues from ronnie scott's, performed at the festival, Afropunk, and toured in Brazil, Colombia and France. Inspired by Fela Kuti, Ebo Taylor, Tony Allen and the great sounds that come out of West Africa, Kokoroko put on a performance to honour the masters that taught them.

Welcome to the third part of the TELE MUSIC saga, the label founded by Roger Tokarz. He deeply marked the era with his audacity and his vision of music on film. This irresistible new selection tells the story from 1968 to 1985 of a prolific label that sometimes produced ten albums a year, and which delighted many French and foreign film directors who, to 'flavour' their films, drew on this sumptuous catalogue.
In this volume 3 TELE MUSIC, we have highlighted legendary artists who have left an indelible mark on the history of the music bookshop and on the history of music in general:

• Janko Nilovic (also known as Yanko Nilovic, Anady Loore, E. Orti or Alan Blackwell),
• Jean-Jacques Debout with his irresistible “Mitsuko” released in 1967 and re-released in 1969 on “Music Bazaar”, • Bernard Lubat, the impressive percussionist, vibraphonist, multi-instrumentalist and very good “scator” (Bernard played in the Doubles Six with Quincy Jones and Eddy Louiss),
• Gabriel Yared, the man with a hundred film scores. Arranger and composer for Johnny Hallyday and Charles Aznavour, among others!
• Hervé Roy conductor and writer for Nancy Holloway,
• George Chatelain, pianist, guitarist, clarinettist, founder of the famous studio “CBE” created in 1966 with his sister Janine Bisson and his high school friend Bernard Estardy.

All these composers were renowned for their acute sense of composition, arrangement, conducting and inter- pretation, and in their own way left their mark on many sound recordings of musical illustration "made in France!
CBE, the Chatelain, Bisson and Estardy studio is located in the 18th arrondissement of Paris. Still in operation and run by Julie Estardy, it has been receiving major artists for over half a century. It is a place of reference. At the time: Johnny Hallyday, Claude François, Sheila, Carlos, Françoise Hardy, Nino Ferrer recorded their hits there.
Now it's the turn of Sebastien Tellier, Bertrand Burgalat, Keziah Jones, Tony Allen, Jeff Miles to name but a few. CBE and its giant Bernard Estardy put TELE MUSIC in the best conditions to produce an atypical and powerful sound.
Bernard Estardy had a custom- built mixing console built by his German friend Gunther Loof, offering the perfect tool for recording 4 and then 32-track Arp 2000, Moog, Korg, Prophet synthesizers and all acoustic instruments. The field of experi- mentation was limitless.
Until now, the titles of this collection were only available in vinyl format, via rare and expensive prints that collectors sell for a high price on dedicated websites. This volume 3 gives you access to the "crème de la crème" of the legendary repertoire made in France!

Having spent the past few years supplying low notes as bass player for a who’s who of UK Soul and Jazz talent (including Tom Misch, LoyleCarner, Berwyn, Jordan Rakei, Poppy Ajudha, Jamie Isaac, Puma Blue, Jorja Smith, Alfa Mist & Charlotte Dos Santos) Rudi Creswick steps into the spotlight with his first full length solo offering ‘Different Forms’ on Alfa Mist’s Sekito imprint.

Hailing from Newcastle-Upon-Tyne, Rudi was immersed in club culture from a young age, the low end sonics of which guided his playing, and led him to discovering his own style In the years that followed, Rudi continued to hone his craft, melding the sub rattling sounds of Hip-Hop producers such as J Dilla, MF Doom and Knxwldge with the technical sensibilities of influential Jazz players such as Pino Palladino, Derrick Hodge and Thundercat.

With this record serving as a chance for Rudi to stretch his creative legs, the aim was to showcase the many musical sides of his creative spirit. The first single lifted from the project ‘Sometimes’ enlists the vocal talents of the incredible Emmavie - who dives into self-reflective and cutting, honest lyrics. She explains: “No one ever leads with “often temperamental, quick to anger and generally hot and cold” when describing themselves. Something about Rudi’s laidback production and bouncy singing bass line pulled this reflective and apologetic yet playful subject out of me. “

On the LP, Rudi says: ‘This whole project is thanks to Alfa , Barney Artist and the team at Sekito who’ve helped me realise my dream. They had faith in me for which I’ll always be grateful. The project’s kind of all over the place because there’s so many corners to anyone’s being, inspirations and their musicality, so I wanted Different Forms to reflect that’



Throughout the record, Rudi’s musical prowess and vast influences are laid bare for all to see. From the gliding melodies and twinkling keys and hazy fanfares of second single ‘Peace Of Mind’ (Feat. Manny & The Coloured Sound) through to the sparse and haunting tones of ‘Charlotte’ the LP traverses high peaks and deep valleys, channelling a sense of beauty of textured mystique throughout. Sporting an impressive roster of collaborators including Alfa Mist himself, Trumpeter Sheila Maurice Grey (Kokoroko), Chelsea Carmichael on Tenor Sax, Barrel Jones (Drummer for Nubya Garcia) and Vels Trio’s Jack Stephenson-Oliver (who played synth for the track ‘With Want You’). The lush instrumentation provides an incredible backdrop for esteemed performers such as Barney Artist to drop bars over the crisp drums and laid back strut of ‘Holding The Fence’, meanwhile Berwyn supplies sombre lyrics of the vast expanses of ‘96BPM’. An emotive and engaging listen from start to finish, ‘Different Forms’ is a truly stunning debut.